Many fine musicians and composers are not well equipped for Music Notation. Perhaps they read and create music successfully, but transcriptions, arrangements and engraving are not talents needed in their usual musical world – Music Notation is often times best left to professional specialists.
Technology
Score writers (music notation computer programs) are valuable tools, but even with clever algorithms, at best, do not apply reasoning. “B” & “Cb” are not always interchangeable. “4/4” with eight note triplets & “12/8” might be considered mathematical equivalents but function, in practice, much differently. The articulation “^” is interpreted differently in symphony orchestra than in big band (jazz). Vocal lines, sometimes, may co-exist on a single stave but are very important to separate onto multiple staves when needed. These kind of human decisions are an integral part of effectively utilizing score writers.
History
Conventions change over time. Using beams with eight notes for vocal music (other than on single syllables) was not traditional several years ago. Figured bass was used in baroque music but not in modern notation, however, there is no clearly defined, universally accepted standard for chord symbols. “Swing” notation was developed for jazz and though standardized, widely misunderstood. Note ‘values’ change with articulation and orchestration.
Orchestration
Understanding orchestration begins with understanding individual instruments (including voice). More than a static concept of range; Tone, power, control & phrasing starts a list of considerations leading to ‘when & how’ to utilize instruments in order to create desired musical results.
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However, the profession of music performance requires more than an ability to perform. Perhaps most important is to always strive to be ‘appropriate’, musically and otherwise. More than merely a choice of compositions - style, form, volume and many more ingredients are adapted, as needed to every situation. Unlike pre-recorded music, live professional performance by a solo artist or a small ensemble can accommodate dynamic requirements instantly. Appropriate accommodation might be noticed by listeners (abbreviate or extend compositions, alter genres, vary amplification) though routinely, many other subtle adjustments are executed unnoticed in order to provide the most ‘appropriate’ performance.